September 19, 2024<September 19, 2024 “Trying to Find My Way”: Musogabi Reaches for the Stars in His Debut Album ‘Cassiopeia’ by Sophie Severs
September 19, 2024<September 29, 2024 Interview: Sally Mango on Musical Liberation, Growth and New Eras in ‘Homemade’ by Rachel Leong
September 18, 2024<September 18, 2024 Feature: Lily Kershaw Unpacks Depression, ‘Pain & More’ on Her Honest, Intimate, & Revealing Third Album by Mitch Mosk
September 18, 2024<September 18, 2024 “Strangers in another life fell hard at the right time”: Rodeo Parade’s Heart Shines on “Seasons Waiting,” a Timeless Love Song of Warmth, Wonder, & Sweet Romance by Mitch Mosk
September 18, 2024<September 18, 2024 Premiere: London’s Ziyad Al-Samman Breaks Out With a “Bang” of Love, Madness, & Disco Pop Flare by Mitch Mosk
September 18, 2024<September 18, 2024 “My skin was blue, but that’s okay”: Brooklyn’s Dino Expedition Premiere “Marie,” an Aching Indie Folk Song of Trauma, Innocence, & Trust Betrayed by Mitch Mosk
September 18, 2024<September 18, 2024 Beyond a ‘Reasonable Doubt’: Why Jay-Z’s Debut Is the Greatest Rap Album of All Time by Eric Schuster
September 18, 2024<September 18, 2024 “Breaking this open meant starting a riot”: Angie McMahon’s “Untangling” Is a Masterclass in Cinematic Vulnerability by Mitch Mosk
September 17, 2024<September 17, 2024 Premiere: William Harries Graham Encompasses the Early Morning Mood With “On the Outside” by Frankie Rose
September 17, 2024<September 17, 2024 “Being One With What You Make”: Ashton Irwin of 5 Seconds of Summer Traverses Passion, Philosophy, and Artistic Identity on ‘BLOOD ON THE DRUMS’ by Isabella Le
September 17, 2024<September 17, 2024 Live Review: Wunderhorse Deliver on the Hype at Brooklyn’s Union Pool by Christine Buckley
September 16, 2024<September 18, 2024 Atwood Magazine’s Weekly Roundup: September 16, 2024 by Atwood Magazine Staff
September 16, 2024<September 16, 2024 “There’s beauty and fascination in depression and darkness, but at the same time, there’s lightness and levity”: Cults Discuss Their New Album, ‘To the Ghosts’ by Marc Maleri
September 14, 2024<September 15, 2024 Looking Out from Catfish and the Bottlemen’s ‘The Balcony,’ a Decade On by Emma Schoors
September 13, 2024<September 27, 2024 “The most personal is the most universal”: COIN’s ‘I’m Not Afraid of Music Anymore’ Is a Triumph of Love, Vulnerability, & Self-Acceptance by Mitch Mosk
For the Love of Music
For the Love of Music
